Blue-headed Pigeon (Plate 172) - John James Audubon
Archival giclée
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Description
A detailed ornithological study of the Blue-headed Pigeon, originally published in John James Audubon's The Birds of America.
This print originates from the monumental work, The Birds of America, published between 1827 and 1838. John James Audubon, a French-American naturalist and painter, sought to document every bird species in North America. His approach involved observing specimens in their natural habitats, often mounting them in lifelike poses to capture their specific anatomical features and behaviours.
Plate 172 depicts the Blue-headed Pigeon, known scientifically as Starnoenas cyanocephala. The composition presents two birds positioned upon a rocky outcrop, surrounded by sparse vegetation. Audubon employs a precise, observational style, focusing on the distinct plumage of the species. The blue crown and the black throat patch are rendered with careful attention to colour and texture. The background remains minimal, allowing the viewer to focus entirely on the physical characteristics of the birds. The engraving process, executed by Robert Havell Jr., translates Audubon's original watercolour studies into a medium suitable for wide distribution. The hand-colouring adds a layer of detail that brings the subjects to life, reflecting the scientific rigour of the nineteenth century.
Audubon's work remains a primary reference for ornithologists and art historians alike. This print captures the intersection of scientific inquiry and artistic representation. It provides a clear view of the species as it was understood during the early nineteenth century, preserved through the medium of high-quality printmaking. The composition balances the scientific need for clarity with the aesthetic requirements of the era's natural history publications. The result is a clean, informative image that documents the appearance of the Blue-headed Pigeon with accuracy and technical skill.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Blue-headed Pigeon (Plate 172) - John James Audubon
Artist Biography
John James Audubon
He was born illegitimate in 1785 in Les Cayes, Saint-Domingue (now Haiti), the son of a French merchant and a Creole woman. He was sent to America at eighteen to avoid Napoleonic conscription. He was also a serial fabricator: he claimed his father was an admiral (he was a captain), said his family had been imprisoned in the Bastille (they had not), and invented frontier stories about fighting wolves and sleeping in igloos. He ran a dry-goods store in Kentucky and was jailed for bankruptcy in 1819.
The paintings themselves are extraordinary: precise, dynamic, and composed with a narrative quality that goes beyond scientific illustration. His legacy is contested. The National Audubon Society and several regional chapters dropped his name in 2023 because of his documented history as an enslaver. He died in 1851.
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